From: Fretted Americana Inc

About Fretted Americana:
We specialize in acquiring and offering the finest specimens of American vintage electric guitars with particular attention to those in their complete, original state.

We are the only dealer to embrace a written code of ethetics.

 

Yes, it really is an original PAF ES-295! This incredibly rare guitar weighs just 6.70 lbs. and has a very comfortable nut width of 1 11/16 inches and a standard Gibson scale length of 24 3/4 inches. Reminiscent of the ES-175, with the same sharp-edged single Florentine cutaway and pearl split-parallelogram inlays, this wonderful guitar has a 16-inch-wide laminated maple body, triple-bound on the top and single-bound on the bottom. One-piece mahogany neck with a wonderful thick profile. Brazilian rosewood fretboard with 20 original small frets. Headstock with inlaid pearl "Gibson" logo and pearl crown inlay. Individual ‘single-line’ Kluson Deluxe tuners with single-ring Keystone plastic buttons (stamped on the underside "2356766 / PAT APPLD").

Two original ‘double-black’ PAF humbucker pickups with nicely balanced outputs of 7.43k and 7.62k. Clear plastic pickguard back-painted in cream and embossed with a gold floral design. Four controls (two volume, two tone) on lower treble bout plus three-way selector switch on upper bass bout. Gold plastic bell-shaped "Bell" knobs. Les Paul combination trapeze bridge/tailpiece with strings looping over the bridge. All hardware gold-plated. With the original Gibson orange oval label inside the bass f-hole, with the style ("ES-295") written in black ink and the serial number ("A 25611") stamped in black. Inside the treble f-hole the FON (factory order number) is stamped in black "V 7724 7" which corresponds with late 1956.

This guitar is in exceptionally fine (9.00) condition. There is some light body checking and a little tarnishing to the gold-plated parts, but otherwise, the body is exceptionally clean and the neck remarkably so. This is a totally original, untouched and exceptional example of an extremely rare guitar — one of about a hundred and ten PAF ES-295s ever made. This actual guitar, which was formerly in the Chinery collection, is featured on p. 87 of The History of the American Guitar from 1833 to the Present Day by Tony Bacon.

Here is a great Video featuring this great guitar with Phil X

 

 

Phil X also discusses the Vintage PAF pickups on this vintage electric guitar:

Housed in the original brown hardshell case with purple plush lining (9.00). It has for a long time been common belief that there were only 49 PAF ES-295′s and most of them were issued in 1958. Indeed in Larry Meiners book Gibson Shipment Totals 1937-1979 he states that seventy-one ES-295′s were shipped in 1957 and forty-nine in 1958. A.R. Duuchossoir in his book Gibson Electrics The Classic Years (page 173) states "At the end of 1957, i.e. slightly later than the 175 models, the ES-295 was in turn fitted with a pair of humbuckers. To comply with the all-gold finish of the instrument, cream-coloured plastic rings were used to mount the gold-plated humbuckers". We contacted our friends at Gibson and from the Gibson shipping records we now know that the very first batch of PAF humbucker ES-295′s (three of them "A-25188"-"A-25190") were shipped on February 25th, 1957. The second batch of another ten guitars ("A-25350"-"A-25359") left the factory on March 29th, 1957. The third batch of another seventeen guitars ("A-25611"-"A-25627") left the factory on May 28th, 1957. Our guitar "A-25611" is the first of the third batch. So from this we can safely conclude that the majority of the seventy-one ES-295′s shipped in 1957 also had PAF humbuckers. It is interesting to note that according to the Gibson records the very first guitar to be fitted with PAF humbuckers was serial number "A-25000" which was shipped on February 18th, 1957. "The ES-295 was introduced in 1952 as the hollow body counterpart of the original Les Paul model. This is true in terms of finish, electronics and hardware, but otherwise the 295 is essentially a fancier twin pickup ES-175 At the end of 1957, i.e. slightly later than the 175 models, the ES-295 was in turn fitted with a pair of humbuckers. To comply with the all-gold finish of the instrument, cream-coloured plastic rings were used to mount the gold-plated humbuckers. The change of pickups did not revive the flagging fortunes of the ES-295 (still equipped with the Les Paul tailpiece) and the model was discontinued in Summer 1958. According to factory records, the last production guitars (#A27993 through A28009) were registered in August. However, the 295 nearly came back in 1959. As indicated in Part One, the gold colour was blamed for the declining popularity of the Les Paul model and ES-295 in the late 50s. In 1959 four 295s were specially built for the Summer convention and registered on 27th May. Two were finished in cherry red (#A30224 and A30225) and two in Argentine Grey (#A30226 and A30227). But apparently CMI did not think a new finish was sufficient to justify a return and the 295 was definitely abandoned". (A.R. Duchossoir, Gibson Electrics — The Classic Years, pp. 173-174)

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Great Article in Vintage Guitar Magazine By: Gil Hembree

Seth Lover
Humbuckers And other Lover innovations

 

A noted creator, Seth Lover’s achievements include numerous amplifiers and circuits, but none have been so highly recognized as his humbucking pickup, which became the Patent Applied For (P.A.F.) humbucker. The following is excerpted from an interview with Seth Lover conducted by VG’s Stephen Patt in 1996. At the time, Lover was working with pickup designer Seymour Duncan on the SH-55 humbucker, more commonly known as the Seth Lover Model. Lover passed away on January 31, 1997.

Vintage Guitar: Who got you started on the path of electronics?
Seth Lover:

I was born in Kalamazoo, Michigan, on January 1, 1910. In the early 1920s, a schoolteacher in Pennsylvania began helping me with electronics projects. I was living with my grandparents at the time, and we used to get the Philadelphia newspaper; the radio section showed how to build different circuits. I guess my first project was a one-tube radio, which worked pretty well. My grandparents had died in the 1920s, and I decided to join the Army, where I worked with electronics. And when I hit the end of my term in 1931, I took a radio course from a Washington, D.C. company. It was actually my second – the first was in 1925, while I was working on a farm.

How did your first radio business come about?

After my second course, I went into business in Kalamazoo, repairing radios and the like at the Butler Battery Shop. We’d recharge batteries, repair radios, and install them. But when Butler died, we started a shop at 465 Academy. Eddy Smith, an orchestra leader at Long Lake, was a good customer. I used to build amplifiers for them. The poor guitar player would be playing next to the piano, and you could see him moving his hands, but for the life of me you couldn’t hear him play one note! If they let him get close to the microphone, he could be amplified and heard.

 

In 1935, I went to work for M&T Battery, doing the same thing. Then in ’41, Walter Fuller wanted me to come to work for Gibson. They were buying amps from a Chicago company, the EH-125, the 150, and the 185. We’d plug in the tubes and test them – I was a troubleshooter. And when World War II came along, I joined the Army again.

In what capacity?

They offered me a Second Class Radioman rating, and I ended up in the Navy. I was sent to Connecticut, then to Treasure Island, near San Francisco, to radio electronics school. That August, I received my First Class rating and was sent to teach electronics near Washington, D.C. Most of my time during the war was spent teaching.

 

In 1944, I had to go to sea [on] the USS Columbus, which was being built in Massachusetts. I was sent there and began checking installations and spare parts, and a little later we were out to sea. Well, about 500 miles out, the drive shaft broke, and we had to turn around. In order to get at the thing, they had to cut a hole through all the decks. And before they got the darn thing fixed, the war was over!

Did you resume your electronics work?

Yes. I went back to work for Gibson and stayed for a couple years, until the Navy built a training station in Michigan. With my Chief’s rating, I was asked to work for them for $5,000 per year, which was a lot of money back then. Gibson was only paying me $3,000. A few years later, they wanted to transfer me to Minnesota. Ted McCarty asked me to build a special kind of pickup, which I did by hand. Then he decided Gibson could afford to pay me what I was getting in the Navy, so I was back with Gibson in 1952.

What were some of your earlier designs?

Before I’d gone into the Navy, I’d begun to design an amplifier. The tremolo circuit in typical amps at the time "putted" along if there was too much depth. I found a way to get a tremolo without any noise, using an optical device, and Gibson was building it while I was in the Navy. So in 1952, I began designing other amp circuits. In ’55, I got the idea for this humbucking pickup. When a single-coil pickup, got too close to an amplifier, it would make a godawful hum.

 

I had designed an amplifier – the Model 90 – which had a special humbucking choke, and figured I could use the same concept on the pickup itself. It was quite simple, really – just two coils opposed, and they’d pick up the hum and just cancel out. I designed it into the tone circuit of the amplifier, and if you’d swing to one end it would wipe out the bass, to the other extreme it would wipe out the treble. So, the pickup was similar in concept.

When did your humbucker actually begin production at Gibson?

We starting building our version in 1955, even though we didn’t have a patent, and that’s when they got the "PAF" stickers to put on them. When we finally were granted our patent, we changed the sticker to one with a patent number, but we actually printed the wrong number on the sticker, one that matched our tailpiece. This way people who sent away for copies of that patent didn’t ever get a copy of the pickup (laughs)! We were replacing the P-90, and there were other single coils being used, especially on steel guitars. I did make a humbucking pickup for steels that worked particularly well. The Gibson Electraharp had my pickup on it, and it was a whopper, but they didn’t build too many of them. It was quite expensive.

 

I bet you’ll like this. [Seth rummages through an old cabinet, and pulls out a cloth-wrapped something.] This is my PAF prototype. It has a stainless steel cover. There’s no high-conductivity in stainless like copper and brass, so it worked well. When the salesmen saw this with no adjustment screws, it was like breaking their arms! They just didn’t have anything to talk about. So, next came the punched-out holes and the adjustment screws.

Was there anything you did specifically for Epiphone?

Epiphone guitars used to have a bunch of pushbuttons, and every time you’d change settings, it’d go "clunk!" I designed a switch with a rocker panel and a magnet to hold the position. My version was never used, but it worked awfully well.

 

And on the Epiphone mini-humbucker, I changed the design to offset the screws and look different – maybe better in some ways – than the Gibson humbucker with its straight screws. It wasn’t quite as loud as the Gibson version, with fewer turns of the coil, and it was a bit trebly. But it did the job.

What prompted your shift from Gibson to their main competitor, Fender?

I stayed with Gibson until 1967, and then had an offer from my friend, Dick Evan, who was Fender’s chief engineer. Now, while I designed most of the amplifiers and pickups, I never did hold that title. I was just a designer. CBS had bought Fender, and they were kind enough to offer me a job. He sent me a ticket to come out [to California] and talk. And they offered me $12,000 per year. I was only getting $9,000 at Gibson.

 

So I came out and did design quite a bit of stuff for them. But the thing was, if the front office didn’t ask for something, they just weren’t interested in anything you’d come up with.

How did you and Seymour Duncan join forces?

After the patent ran out, Seymour started making the pickups, and he did an awfully good job, not just in appearance, but in materials and workmanship and sound. Everything, down to finest detail, was intact. We had used plain enameled #42 wire. A lot of people would use plastic-coated wire, but the results weren’t the same. We used nickel-silver on the covers originally, sometimes called German silver, again due to its low conductivity. You can’t solder stainless steel, so the nickel-silver worked better. And that’s what you see on these special Duncan-Lover pickups. It’s really faithful to the original. The SH-55 will have my stamp of approval on it, and I’ll even get a small royalty on each sale. Now, that’s something that Gibson never got around to giving me! My name doesn’t show up in too many of these history books, and maybe they didn’t value design in those days. I guess that’s why they never paid me much [a wicked glint in his eyes signals that Seth is gently pulling my leg]. I did a lot of work, and now it seems to be getting recognized.

This is a 1959 Gibson PAF (Patent Applied For) Pickup all Original with Double White coils. This is one of the finest examples of a PAF we have had in a long time.

The cover has never been removed and the lead is over 11" long.

With the cover never being removed we can only guess at the magnet length, However being a 1959 we would guess long.